Death of a loved one upsetting a teenager, denunciation of machismo and retarded morals in Brazil (at least by 2007, when the action takes place), slow realization of her homosexuality by Joana, the young protagonist of the story, it's a lot for one film. A question therefore arises: won't the writer-director bite off more than she can chew, as the saying goes? On the other hand, will she be able to avoid the two major pitfalls that threaten an effort of the kind, being over-demonstrative in terms of ideas or over-indulgent in terms of sex scenes, or both? Fortunately, as of the first minutes, we feel it for sure: it will be nothing of the sort.
Of course, gravity and tension reign, drama and threat loom in 'The First Death of Joana' (Cristiane Oliveira's second feature after 'Mulher do Pai' in 2016), but the author opts for a chronicle, not a tragedy. As a result, the story, told is an intimate one told day by day, is one in which darkness is aptly counterbalanced with lightness, crudeness with poetry and tenderness. And it works all the better because Oliveira has a deep sense of psychology, which helps us connect with the main character. Her fine description of Joana's personality, moods and emotional journey really make this young girl endearing. Gradually discovering Joana to be sensitive, quick-witted and combative raises our interest in her evolution from the stage of late childhood (which ends at the death of her beloved aunt) to that of nascent maturity (when she discovers her sexual orientation).
In the end, we leave the film moved and enchanted. Which means the director has made the right choices: capturing the characters in their authenticity (they all ring true, from Joana - Laeticia Kacperski - and her best friend Carolina - Isabela Bressane - to the adults, to the grandmother); placing them in a well-defined context (Rio do Sul, in the South of Brazil, its omnipresent nature, a big lake, a vast wind farm) ; advancing the story with light touches, infusing the seriousness of her subject rather than asserting it schematically, dogmatically or complacently. We feel before we understand: this is great impressionist art.
Also noteworthy is the use of the Scope format, which has often been said to be perfect for large spaces and gigantic sets but inappropriate for capturing intimacy. This film proves the contrary.: the 2.35 ratio can very well enhance the wide open spaces of... the human soul.
With this delicate film, Cristiane Oliveira falls within the category of sensitive and humanistic filmmakers and could one day join Renoir, Truffaut, Ozu, Kiarostami or Satyajit Ray in their pantheon. An artist to follow in any case.
Of course, gravity and tension reign, drama and threat loom in 'The First Death of Joana' (Cristiane Oliveira's second feature after 'Mulher do Pai' in 2016), but the author opts for a chronicle, not a tragedy. As a result, the story, told is an intimate one told day by day, is one in which darkness is aptly counterbalanced with lightness, crudeness with poetry and tenderness. And it works all the better because Oliveira has a deep sense of psychology, which helps us connect with the main character. Her fine description of Joana's personality, moods and emotional journey really make this young girl endearing. Gradually discovering Joana to be sensitive, quick-witted and combative raises our interest in her evolution from the stage of late childhood (which ends at the death of her beloved aunt) to that of nascent maturity (when she discovers her sexual orientation).
In the end, we leave the film moved and enchanted. Which means the director has made the right choices: capturing the characters in their authenticity (they all ring true, from Joana - Laeticia Kacperski - and her best friend Carolina - Isabela Bressane - to the adults, to the grandmother); placing them in a well-defined context (Rio do Sul, in the South of Brazil, its omnipresent nature, a big lake, a vast wind farm) ; advancing the story with light touches, infusing the seriousness of her subject rather than asserting it schematically, dogmatically or complacently. We feel before we understand: this is great impressionist art.
Also noteworthy is the use of the Scope format, which has often been said to be perfect for large spaces and gigantic sets but inappropriate for capturing intimacy. This film proves the contrary.: the 2.35 ratio can very well enhance the wide open spaces of... the human soul.
With this delicate film, Cristiane Oliveira falls within the category of sensitive and humanistic filmmakers and could one day join Renoir, Truffaut, Ozu, Kiarostami or Satyajit Ray in their pantheon. An artist to follow in any case.
